noun: the atomic weight of an element that has the same combining capacity as a given weight of another element; the standard is 8 for oxygen
noun: a person or thing equal to another in value or measure or force or effect or significance etc ("Send two dollars or the equivalent in stamps")
adjective: being essentially equal to something ("A wish that was equivalent to a command")
adjective: equal in amount or value ("Equivalent amounts")

General remarks on harmonies of tones and colours
—The scheme gained without technical knowledge
—Brief explanation of how the laws were gained
—The development of numbers showed the "to and fro" in the development of sounds
Multequivalency of harmonies veering round, or advancing and retiring in musical clef
—Before judging, close examination requested, . 12 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

On colours developing by the same laws as musical harmonies
—The physical properties of light and darkness briefly considered
—If the laws are correctly gained, harmonics of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical harmonics, E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All harmonics of sound and colour condense into a primo springing from the fountain
Multequivalency of tones and colours
Wünsch's views nearly one hundred years ago
Clerk Maxwell's, Lord Rayleigh's, and [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of ascending or descending, to and fro in circles, or advancing and retiring in musical clef. It is a curious coincidence that Wünsch, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first visible colour, followed by green and violet, but these not as primary colours, all colours in turn becoming primaries and secondaries in the development of the various harmonies. To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the spectroscope. Yellow and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

See Also


Created by Dale Pond. Last Modification: Tuesday February 16, 2021 04:28:51 MST by Dale Pond.